Cher Public

Spunk

In issue #46 of parterre box the queer opera zine (“Spunk”), you will find an endorsement by the legendary Astrid Varnay, the fever-dream libretto Der Fledermausmann, Dr. Repertoire and Dawn Fatale cavorting through the Broadway smash The Impresarios, the usual reviews and gossip, plus an installment of “A Boy and His Diva” by Jon Taylor. [Download Issue #46]

  • armerjacquino

    Heh. I’ve clearly been banging on about Janowitz for over 15 years.

    • armerjacquino

      …and Jose Cura maybe didn’t turn out to be quite as good as I predicted.

    • Krunoslav

      Imagine repeating something over and over again for that long! :)

      • armerjacquino

        Grrrr!

        *grudgingly accepts*

        • Krunoslav

          Bet you’re cute when you’re grudging.

          Alas I missed Janowitz altogether. My parents were not much impressed by the Met Sieglinde (they had heard Varnay, Crespin and Rysanek, much more their kinds of performer) but very much enjoyed a Mozart aria concert Janowitz did in London in the late 80s- I think at the Barbican. We’re you present?

          • armerjacquino

            Never saw her sing Mozart- just that Ariadne, and then a Strauss lieder recital at St John’s Smith Square.

            I do remember missing a Mozart recital though, owing to exams or school plays or something and being gutted.

            My parents queued for hours at one Edinburgh Festival to see Wunderlich as Tamino, but he cancelled, so the poor things had to make do with Haefliger and Janowitz instead.

            • Krunoslav

              My parents’ prize catch at Edinburgh; was Vishnevskaya’s Lady M; they sat right behind Rostropovich.

  • Camille

    I remember well this issue, for “Spunk” had about the most flattering foto of Varnay ever published. A nice change for she doesn’t like as though she ate her firstborn here.

    Not to interrupt the above duetto between armerjay and Kruno, but I, too, have an ineffable and cherishable memory of Gundula the Great, as a perfekt Agathe in every way—save the lack of the climactic note in her great scena—in a Wiener Freischütz, which I was greatly privileged to witness in September 1987. So chagrined by that lack was she, that in the following Kavatine “Und ob die Wolke”, she more than made up for it with the most beautiful legato and shimmerly beautiful high notes, admittedly, only A flats and not the B that would not be.

    I shall never forget that performance, which I have been fondly recalling in the last week after having heard the brave, utopian efforts of Utopia Opera’s production at Lang Recital Hall at Hunter College a week ago.

    I absolutely adored the team of Janowitz/King on my first recording and always have a difficult time banishing their voices from my inner ear at any live performance I attend. Beautiful.

  • Camille

    I remember well this issue, for “Spunk” had about the most flattering foto of Varnay ever published. A nice change for she doesn’t look as though she ate her firstborn here.

    Not to interrupt the above duetto between armerjay and Kruno, but I, too, have an ineffable and cherishable memory of Gundula the Great, as a perfekt Agathe in every way—save the lack of the climactic note in her great scena—in a Wiener Freischütz, which I was greatly privileged to witness in September 1987. So chagrined by that lack was she, that in the following Kavatine “Und ob die Wolke”, she more than made up for it with the most beautiful legato and shimmerly beautiful high notes, admittedly, only A flats and not the B that would not be.

    I shall never forget that performance, which I have been fondly recalling in the last week after having heard the brave, utopian efforts of Utopia Opera’s production at Lang Recital Hall at Hunter College a week ago.

    I absolutely adored the team of Janowitz/King on my first recording and always have a difficult time banishing their voices from my inner ear at any live performance I attend. Beautiful.

    • Camille

      Sorry, epic lack of italics font closure plus duplication.

      Es war ein Traum….

  • That review of the NYCO Boheme reminds me that was my first view of Rolando Vllazon. So sad what happened to him a few years later and it’s so great to hear him in the Mozart recital disc, voice not really there anymore but still with so much to offer.

    • I thought the same thing. The broadcast of that NYCO production was what introduced many of us to Villazon (and to Maria Kanyova).